Queensland Ballet - Pas Magazine Issue #12

ISSUE #12

DECEMBER 2023 - MAY 2024

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#12

WELCOME

Contributors Editor Cassandra Houghton Words Cassandra Houghton Design Kat Keogh / Kleek Queensland Ballet Artistic Director Li Cunxin AO 2013-2023 Executive Director Dilshani Weerasinghe

Welcome to the twelfth edition of Pas. magazine.

Contact Queensland Ballet 07 3013 6666 mail@queenslandballet.com.au Thomas Dixon Centre 406 Montague Rd West End, QLD 4101 Queensland Ballet Academy 07 3013 6665 academy@queenslandballet.com.au

QUEENSLAND BALLET

101 L’Estrange Terrace Kelvin Grove, QLD 4059

Every effort has been made to ensure that all information was correct at the time of printing, however, details are subject to change where necessary and without notice. Please check queenslandballet.com.au for updates.

Queensland Ballet Membership

TAKE THE NEXT STEP

Explore a range of Memberships for all ages that connect, inspire, and enhance your Queensland Ballet experience while supporting the timeless artform of ballet.

Members can access special ballet benefits, connect at inspiring year-round events, and enjoy curated experiences that celebrate and inspire you to uncover the magic of ballet. Whether you’re an ardent ballet lover or simply curious to discover more, it’s time to take the next step and become a member. All memberships are valid for 12 months from date of purchase – so you can become a member anytime. queenslandballet.com.au/memberships

Front cover Senior Soloist Chiara Gonzalez Photo by David Kelly Back cover Senior Soloist Chiara Gonzalez and Principal Artist Alexander Idaszak Photo by Angharad Gladding Creative Direction & Design Andy Geppert

/pa/ A step or series of steps in ballet.

IN THIS ISSUE 4

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FEATURE

FEATURE

On Coco Chanel: the Life of a Fashion Icon In conversation with choreographer Annabelle Lopez Ochoa —

Celebrating Li Cunxin AO Legacy of a ballet legend —

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INTERVIEW

FEATURE

Bespoke 2024 Q&A with Wakka Wakka and Kombumerri choreographer Katina Olsen —

Li Cunxin AO and Mary Li Storytelling —

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FEATURE

EXPLORE

In conversation with First Company Artist Libby-Rose Niederer —

Introducing Queensland Ballet Academy’s 2024 Season —

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FEATURE

ENGAGE

Celebrating Li Cunxin AO Legacy of a ballet legend —

From our Partners —

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— I’m delighted to share our December edition with you - my last - exploring the incredible productions that make up the new 2024 Season.

It is a bittersweet moment to introduce these stories and people behind the Season, knowing my wife Mary and I will be watching purely from the theatre. I have no doubt the Company will do a spectacular job and I can’t wait to witness the magic through the lens of an avid Queensland Ballet supporter.

Within the following pages, enjoy an interview with the internationally acclaimed Belgian-Colombian choreographer Annabelle Lopez Ochoa, who speaks candidly about our blockbuster ballet of the season, Coco Chanel: the Life of a Fashion Icon. The exploration of this darkly complex legend of the fashion world is richly layered and multidimensional – much like Chanel herself. Meanwhile, contemporary fans will rejoice as First Nations choreographer Katina Olsen gives us a glimpse into what we can expect from her new work in the 2024 Season of our beloved Bespoke, which will premiere alongside new works by award-winning Ukrainian-Dutch choreographer Milena Sidorova and acclaimed Australian choreographer Jack Lister.

We also talk to the talented First Company Artist Libby-Rose Niederer about her dance career; explore Queensland Ballet Academy’s 2024 season, and much more.

Our 2024 Season will be one of the best other highlights include Coppélia, A Midsummer Night’s Dream, and the sparkling Cinderella - My First Ballet.

I’d like to take this opportunity to extend my gratitude once again for your support of this aspirational company. My heartfelt thanks to all who have supported my vision over the past 11 years – Mary and I are so grateful for the life-enriching experiences we have enjoyed with Queensland Ballet. We’ll see you in the theatre.

Li Cunxin AO Artistic Director

Acknowledgement of Country Queensland Ballet acknowledges the traditional custodians of the land on which we work and perform.

Long before we performed on this land, it played host to the dance expression of our First Nations Peoples. We pay our respects to their Elders — past, present and emerging — and acknowledge the valuable contribution they have made and continue to make to the cultural landscape of this country.

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WHAT’S ON 2024 Season A Midsummer Night’s Dream

Coco Chanel: the Life of a Fashion Icon

12 – 27 APRIL 2024 PLAYHOUSE, QPAC

4 – 19 OCTOBER 2024 PLAYHOUSE, QPAC

A Shakespearean dreamscape of moonlit mischief and comedic charm.

A rags-to-riches tale of glamour, turbulence, and blazing ambition.

Experience the wonder of Shakespeare in the whimsical A Midsummer Night’s Dream by Liam Scarlett. Brimming with mischief and mayhem, Shakespeare’s fantastical masterpiece interweaves the magical realm of fairies and woodland creatures with the mortal world of unrequited lovers.

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Trailblazer. Icon. A force to be reckoned with.

Acclaimed Belgian-Colombian choreographer Anabelle Lopez Ochoa delves into the creativity, triumph, immorality, and dark opportunism of firebrand Gabrielle ‘Coco’ Chanel and her complex life of glamour and controversy in this full-length narrative ballet set in Jazz Age Paris.

Coppélia

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7 - 22 JUNE 2024 BRISBANE: PLAYHOUSE, QPAC 1 - 2 NOVEMBER 2024 GOLD COAST: HOTA, GOLD COAST

The Nutcracker

Love and mayhem collide in this airy, light-hearted ballet with Australian flair.

A sparkling winter wonderland awaits in the delightful holiday ballet, The Nutcracker.

A beautiful, life-like doll and two quarrelling young lovers create comic chaos in this spirited Romantic-era ballet with a distinctly Australian flair. Set in the sun-drenched South Australian town of Hahndorf in the late 19th century, Greg Horsman’s Coppélia is a light-hearted, mischievous ballet filled with captivating characters that will charm audiences of all ages.

Snowflakes flutter, fireplaces crackle, and midnight dreams come to life in this muchloved tale that takes place one frosty Christmas Eve night. Filled with magic, excitement and dreamy delights, this rich story ballet will enchant families of all ages.

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Special Events

Cinderella - My First Ballet

Available as add-ons to your 2024 Season Package

Sparkling family-friendly fairytale the perfect fit for everyone.

Love triumphs with a sprinkling of fairy magic in this dreamy and luminous Cinderella - My First Ballet. Adapted from one of the most exquisite fairytales of all time, this story ballet will delight even the littlest of theatregoers.

— Bespoke 25 JULY – 3 AUGUST 2024 TALBOT THEATRE, THOMAS DIXON CENTRE Contemporary dance at its most daring and dynamic.

Edgy, contemporary, and entirely original, Bespoke returns for a season of dynamic new works created by renowned local and international talent: Wakka Wakka and Kombumerri choreographer Katina Olsen, award-winning Ukrainian-Dutch choreographer Milena Sidorova, and acclaimed Australian choreographer Jack Lister.

A dazzling festive treat for the whole family.

Queensland Ballet presents Derek Deane’s The Lady of the Camellias, performed by Shanghai Ballet 5 – 8 DECEMBER 2024 LYRIC THEATRE, QPAC A glittering tale of Parisian love and tragedy.

Queensland Ballet is proud to present the spectacular production of Derek Deane’s The Lady of the Camellias by the acclaimed Shanghai Ballet. Don’t miss this glittering tale of love and tragedy that inspired countless stage, operatic and film productions – including the award-winning Moulin Rouge! - in a season exclusive to Brisbane.

— Queensland Ballet at Home Our 2024 touring program 21 FEBRUARY – 13 MARCH 2024 A treasure trove of ballet masterpieces from the vault.

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Join us in a theatre near you as we present four glittering works from the vault in a ballet feast for the senses. Queensland Ballet at Home features rich stories that will captivate lovers of music and dance.

Queensland Ballet Academy Gala

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9 – 11 AUGUST 2024 TALBOT THEATRE, THOMAS DIXON CENTRE A showcase of the rising stars of dance.

A highlight of the Season, the Queensland Ballet Academy Gala is an exciting annual showcase of the rising young stars of dance.

Enjoy a dazzling program of classical ballet and dynamic neo-classical and contemporary works by internationally renowned choreographers, along with a selection of vibrant student choreographic works.

Photo Principal Artist Alexander Idaszak Photo by David Kelly

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— For bookings or information visit queenslandballet.com.au *All information correct at the time of printing, and subject to change.

ISSUE #12 DECEMBER 2023 - MAY 2024

20 – 29 JUNE 2024 TALBOT THEATRE, THOMAS DIXON CENTRE

13 – 21 DECEMBER 2024 LYRIC THEATRE, QPAC

QUEENSLAND BALLET

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In conversation with choreographer Annabelle Lopez Ochoa On storytelling, ballet as escapism, and creating Coco Chanel: the Life of a Fashion Icon.

—There was a moment during the ideation of Coco Chanel:

Chanel, her inner drive. She never got married, never had children,

the Life of a Fashion Icon when art and history aligned in perfect

she had hardships, successes, obstacles, and challenges, but it is

symmetry. Choreographer Annabelle Lopez Ochoa had been in

her fate, her vocation in the form of the Shadow Chanel that pulls

Paris with costume and set designer Jérôme Kaplan, discussing

her up and pushes her through all the hardships. At the end of the

fashion and staircases; “I said from the beginning that I cannot do this ballet without staircases,” she recalls, smiling. “They are so iconic from all the historical pictures of the store at Rue Cambon, but also conceptually they refer to the ascension of Chanel throughout her life. Jérôme then had the idea to put two white spiralling staircases together and all of a sudden, we could see the ‘CC’ – it was beautiful.”

Speaking from the Dominican Republic one Sunday evening via Zoom, Annabelle says it was the story of the woman behind the perfume that drew her in.

“There are a lot of things we don’t know about Chanel - she was very complex. I felt that before one buys her perfume, one should know who this woman was,” she says.

ballet the two become one.”

The set design was inspired by Chanel No5’s classic ivory box; the costumes, of course, by her fashion. All the costumes evoke a quintessential Chanel quality and essence.

Annabelle is immensely grateful that the ballet is co-produced by Hong Kong Ballet, Atlanta Ballet, and Queensland Ballet, which enabled for the visuals and the designs to be top-notch.

“I’m really grateful that what we had in our minds became a reality – it’s like a dream come true.”

Artistic ambition is a journey Annabelle can relate to. The acclaimed Belgian-Colombian choreographer completed her dance education at the Royal Ballet School of Antwerp, discovering a love of choreographing at 11 years of age. After dancing for 12 years in European dance companies, she left the stage to focus solely on choreography, and has created for

“She’s the first businesswoman who built a fashion empire.

78 dance companies around the world. Since 2012, she

She worked tirelessly until the age of 87. Her fashion was art, and

choreographed 12 narrative ballets, including many

on top of that, it helped to liberate women into more comfortable

inspired by strong, complex women from history, such

clothes. Still clothes made to seduce – Mademoiselle Chanel was a

as Frida for the Dutch National Ballet, Doña Perón for

seductress, however she also gave women their freedom. She came

Ballet Hispanico and Callas, La divina for Municipal de

from a time in the 1800s when you needed someone to help you get

Santiago. Choreography is the language (of which she

dressed. It was only the upper class that could afford that.

“I find it gratifying to present a ballet with a theme that enlightens us about the evolution of the position of women in society.”

Born in 1883, Chanel’s darkly ambitious life is steeped in controversy; her rise to fame throughout the World War II period and the poverty-stricken streets of occupied Paris, including her relationships with Nazi officials, has been well-documented.

can speak four) where she feels the most comfortable.

“I enjoy the poetry of ballet,” she says thoughtfully.

“When a work is too realistic, I doze off. Ballet is filled with heightened realism and heightened beauty. And these days, it is exactly what we need.

“What attracts me to choreography is that it moves people. I was watching the performance of BOTERO

Annabelle spent two years researching the French designer,

with my team, which we had created for Alberta Ballet,

resulting in a full-length narrative ballet that explores her life: both

when suddenly, when the curtain came down, this

the bright and the dark elements of her character and career.

woman seated in front of us turned around and showed

“She always lied about where and when she was born, because

her appreciation with tears. She couldn’t stop crying

she didn’t want people to know about her modest beginnings after

because she was so moved by the beauty of the dancing,

her father abandoned her and left her in a convent,” Annabelle

the music, and the costumes. She made us promise that we would

says.

create another work together. And then you feel like, wow, I can

“At the beginning of her career she was sewing by day and singing in a cabaret by night, but even that wasn’t sufficient, and she felt forced to do other work and accept money from men in order to survive.

“And so, I tried to make it clear that during her entire life she fought for her independence, emotionally and financially.

“When she was a young business entrepreneur, she signed a contract that only left her earning 10 per cent of each perfume No5 that she sold. She fought her entire life to regain the rights over her perfume, in vain. Men abused the fact that she didn’t really know what she was getting into. The fragrance company is now worth billions of dollars because of this. It was fascinating to get to know more about her and to share it.”

Working closely with artistic collaborator Nancy Meckler,

move people with ballet. All the hard work we’ve done fills people with so much joy. We can share a bit of poetry and beauty in the world when it feels like it’s crumbling.”

The art of storytelling lies at the heart of her passion.

“I really believe in new stories. I think it’s time for the ballet world to make an effort and take risks. We are, unfortunately, primarily focused on ticket sales,” Annabelle says.

“But you know, we go to the movies to watch new stories that tell us something about humanity, so we should trust our audience that their curiosity will lead them to the ballet. It’s up to us to create good ballets, and this takes time and funding. The first time Swan Lake was presented in 1876, it was a failure…and look now, no

Annabelle says they decided to portray Chanel as a double

one could imagine a ballet company without a Swan Lake in their

character to symbolise the journey of her ascension.

repertoire. We need to look at the potential of a work of art, not

“We have Chanel that starts at the bottom of the social ladder and becomes an icon and alongside her we have the Shadow

Annabelle Lopez Ochoa Choreographer

ISSUE #12 DECEMBER 2023 - MAY 2024

The play on Coco Chanel’s iconic logo is integral to the ballet’s story, which follows the French fashion designer through key moments of her controversial, yet fascinating life.

FEATURE

focus solely on its shortcomings. The legacy I want to leave is that I have been fighting to bring new stories to ballet audiences.”

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Photos PG 4: Principal Artist Yanela Piñera PG 5: Headshot by Rob Becker; Soloist Georgia Swan Photos by David Kelly

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INTERVIEW

Bespoke 2024 Meet Wakka Wakka and Kombumerri Choreographer, Katina Olsen In 2002, a hopeful 14-year-old dance student from Rockhampton walked into the Thomas Dixon Centre to enquire about auditions for the Queensland Dance School of Excellence (QDSE). 20 years later with a flourishing career, Katina Olsen is one of three acclaimed choreographers creating a new work for Queensland Ballet’s 2024 Bespoke season.

Katina Olsen Choreographer

Inspired by yarns, conversations, and the stark beauty of Country, the Wakka Wakka Kombumerri dancer and choreographer, who began her professional career with Bangarra Dance Theatre, will soon embark upon her distinct process of gathering ideas for movement and storytelling, eventually collaborating with the dancers themselves to create a premiere First Nations work.

Here, Katina shares insight into how she artfully and respectfully interweaves Cultural stories with the artform of dance.

What have you recently been working on?

I’m currently at home on the Sunshine Coast, after landing about an hour ago! It feels so good to be home. I was invited by the Art Gallery of New South Wales to perform in Moves – part of Volume Festival, which was full of amazing artists and musicians and independent dance artists. They invited me to improvise in a space of my choice. It felt really lovely to dance among the beautiful artworks hung around me.

QUEENSLAND BALLET

—Katina’s work will

premiere in our seventh Bespoke season from 25 July - 3 August, 2024.

For more details, visit the website: queenslandballet.com.au

You went from a small Rockhampton dance school to the Queensland Dance School of Excellence. How did this journey transpire?

I started ballet lessons at three years of age at The Beverley Prange Dance Centre in Rockhampton, and grew up studying ballet, tap, jazz contemporary and character dance. My parents split up when I was 12, and I used to visit my dad on the school holidays. He lived in Cooroy. On one of those visits, I was interested in the QDSE so he drove me to the Thomas Dixon Centre. I walked in and someone who worked there took one look at me and said ‘do you want to audition?’

I was only there to get some information for the following year, but she suggested I audition for that year. My mum flew my leotard and tights down and I auditioned and I got in. I think this happened on a Thursday and they wanted me to start the following Tuesday!

Where did this training lead you?

Photos PG 6: Katina Olsen headshot Photo by Kate Holmes Photography Company Artist Edison Manuel Photo by David Kelly PG 7: Katina Olsen Photo by Trina Cary Photography

There was a point where I realised I was getting serious about making a career out of dance. I auditioned for QUT and completed a Bachelor of Fine Arts (Dance) there, and I discovered that contemporary dance was where I felt most like myself. I was really interested in the possibilities it offered. My Aunty Vi – my Wakka Wakka great grandfather’s sister – took me to see Bangarra Dance Theatre’s Boomerang and that’s when I was like, wow, that’s amazing that we can celebrate Culture onstage like that, and I want to do something just like it. I auditioned at the end of my third year at QUT, and that was the beginning of my professional career. I was at Bangarra for four years. It’s those moments when you’re young that have such an effect; seeing Bangarra helped me realise that I could celebrate my Culture through my love of contemporary dance.

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Tell us about the collective you co-founded: Dance Makers Collective.

I left Bangarra at the end of 2010 and began working independently with a number of different choreographers and small to medium companies. In Sydney, I was invited by some friends to chat about starting a collective. In 2012, we formed 10 independent artists together to create Dance Makers Collective. We were all emerging artists who decided to apply for arts funding together to help support our choreographic processes. The industry is so competitive and we all believe that the whole is greater than the sum of its parts, so that by combining our skills together we’d have a better chance of finding support for our emerging choreographic practices. It worked, and now we’re celebrating 10 years of our Collective.

We’re really proud of what we have created and how much we can now extend that support to a number of other independent dance artists.

What is involved in your choreographic process?

In and outside the Collective, I started to gain a real curiosity; there were a lot of stories I wanted to share through dance, and that journey has been parallel to my research of my Wakka Wakka and Kombumerri Culture, specifically my own family’s songs, language and Cultural dances that have been impacted through colonisation. I’ve been developing my voice as a choreographer since 2012, and these processes of choreographic research and Cultural learnings are often intertwined.

My choreographic process starts before I step into a studio.

Throughout most of my career, my dance making has involved stories or themes from Wakka Wakka or Kombumerri Country.

Before I even begin, (if I have the means to) I spend time on Country yarning with my Elders and community. It’s imperative that Cultural protocol is upheld and respected – I always check that it’s okay to tell a story a certain way or at all – it’s one of the most important steps in the process. Once I have a clear idea and permission from my Elders, I spend a lot of time in improvisation gathering ideas for movement. I fill my mind and my body with these stories, yarns and all that Cultural information, then allow that to come through my body as I create dance.

Later in the process, I lean into a number of different tasking methods as well; I really enjoy working with dancers to find this together. As well as sharing my style and aesthetic, I think it’s really beautiful for movement to come from collaboration with the dancers.

Throughout the process, I’m very much ‘in a creative cave’, not many people will hear from me when I’m deep in creation!

What are your hobbies outside of dance?

I love surfing! I’m not amazing, but I do love a clean two to three-foot wave – that’s always really fun. I’m fussy though, if the surf is a little choppy then I won’t even paddle out! I also really enjoy film photography. I’m a bit obsessed with collecting old film cameras – I’ve got about eight box brownies on my bookshelf. I like taking photos of life, friends, family, nature, and have a lot of photos of the bush and the ocean. I love how you have to wait for the images to be developed and I find the flaws in analogue photography really romantic.

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ISSUE #12 DECEMBER 2023 - MAY 2024

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QUEENSLAND BALLET

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FEATURE Dancer dreamer First Company Artist Libby-Rose Niederer on moving countries, dreaming big and daily gratitude

“It’s one of the reasons why I didn’t apply for any other companies and why I started training here: I knew there was a pathway I could follow.”

What followed was a contract to become a Jette Parker Young Artist, then a Company Artist. She found the transition from student to professional an interesting one.

“As a student you’re training every day, working on technique, getting feedback and corrections, and in the first year with the Company you’re trusted to act as a professional and do your job.

And if you need to work on yourself that’s up to you and that trust is given to you,” she says.

“I had some amazing opportunities. One of the highlights was the Bespoke program – I got to dance the lead role in one of the pieces. Then as a Company Artist, I’ve been to China, Canberra, and Melbourne, as well as all the regional tours. These have been incredible experiences.”

2022 was another milestone year: Libby-Rose was promoted to First Company Artist in August, and she was chosen as a recipient for the annual Khitercs Hirai travel scholarship fund, which sees two dancers undertake a study tour across Europe. Her travel diary with fellow Company Artist Luke Dimattina over the 20222023 holiday period reads like a dancer’s dream: highlights include company classes with The Royal Ballet, Ballet Zürich, and the Vienna State Ballet; and attending performances by Paris Opera Ballet, the Dutch National Ballet, and the English National Ballet.

“I was taking classes with dancers that are my idols,” she recalls.

“It’s so interesting to see the different working environments and cultures and company lifestyles, but at the same time it was also really humbling because ballet is so universal – everyone has the same issues, like sore feet. It was so inspiring. I remember getting to watch Marianela Núñez, who’s one of my idols, perform Aurora in The Sleeping Beauty which is one of my favourite roles – that was a perfect dream come true.”

Of dreams, Libby-Rose agrees she is living it.

ISSUE #12 DECEMBER 2023 - MAY 2024

—One of the most fulfilling moments in Libby-Rose Niederer’s career occurred in August 2023, unexpectedly. Remi Wörtmeyer (multi award-winning choreographer, dancer and artist) was in town choreographing Miroirs – a challenging new neo-classical work for the Bespoke season. About 72 hours before the first show of the second week, Libby-Rose got a call.

“One of the dancers was injured and I found out on a Saturday that I would be dancing her role on the Tuesday. So I came in on the Sunday to learn the choreography by video with my partner Edison,” she recalls.

“To be thrown in like that was an intense experience that I’d not had before. There just wasn’t any time to learn it, and learning from a video is hard. The choreography wasn’t conventional, like pirouettes or en pointe - it’s the type you have to work out with your partner like ‘now you give me this hand, we go this way’. But in the end, it was so fulfilling to do it onstage and I was so proud of that performance; because it was fresh it felt so authentic. It was a really special moment in my career.”

This intense style of focus has been honed over a lifetime: New Zealand-born Libby-Rose began dancing at her local ballet school in Auckland at four years of age. From the moment she stepped onto a stage, following in her cousin’s balletic steps in a tiny tutu literally cut from the same cloth, she had one goal: become a ballerina. Musicality runs deep in the Niederer family.

The cousin that inspired her went on to perform in big musical theatre productions in the U.K.; Libby-Rose’s twin plays the guitar and piano; her 80-year-old grandmother still takes tap dancing classes. So she joined the Cameron Ballet Academy, began winning competitions at 10-years-old, and at 15, dared to dream bigger.

“In 2014, I was doing quite well, I won all the major New Zealand competitions that year, and I thought if I actually wanted to be a ballerina, I needed to think about training full-time,” she says.

“But I also wanted to finish my schooling and that was a big benefit of Queensland Ballet Academy’s Senior Program. I travelled here to do the Summer School and to get a feel for Brisbane and the Company. I really liked it. And with Li (Cunxin AO) as Artistic Director, it seemed like the Company was on an upwards trajectory so we decided, as a family, that this was the place for me.”

Libby-Rose auditioned for the Academy and a day later, Li rang her mother personally to offer a scholarship.

“That was the kicker,” she says, smiling. “Queensland Ballet ticked all the boxes.”

She moved to Brisbane by herself, leaving her twin sister and family back in New Zealand. She says it was a challenging year.

“I’m close to my mum and sister, so the first year alone was really difficult. But once my sister finished school she followed me over, turning down the top scholarship at Auckland University to live with me and study in Brisbane, which was amazing.”

In 2015, Queensland Ballet implemented its own training programs to meet a new artistic vision under the direction of Artistic Director Li Cunxin.

“It was incredible to be one of the founding students,” she says.

“Then after finishing the Academy Senior Program during Year 12, I did one year in the full-time Pre-Professional Program where I had so many amazing opportunities. Christian (Tàtchev, Academy Director) and Zenia (Tàtcheva, now Company Ballet Mistress) really nurtured me as a dancer, and we had a lot of time with the Company – weekly classes and performing roles in productions like The Nutcracker and Strictly Gershwin.

Libby-Rose Niederer First Company Artist

“I get to dance for my job. That’s my passion and my dream and honestly I feel so lucky. There are always hard moments but I’m working each day feeling fulfilled because I’ve worked both my body and my brain, and achieved something, like I’ve got more choreography down or fixed this step – I always finish my day feeling fulfilled.”

Gratitude is a trait instilled not just by the years of training and working with a beloved artform, but also from Li. “It’s funny, when he announced he was going to retire he had an intimate meeting with all of us dancers to say thank you, a conversation to tell us he really appreciated working with us, and one of the things he brought up was gratitude,” she reflects quietly.

“He says he honestly and truly feels gratitude coming into work every day and standing in this amazing building. And that resonated with me. He said if you keep that in mind, you’re going to have a positive outlook to your day, and you’re probably going to work better and be a better person and have more success. It’s a mindset shift. I feel like that’s a really important piece of advice, and I’m so grateful for it.”

—See Libby-Rose in our 2024 Season. For tickets and more

information, visit the website: queenslandballet.com.au

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Photos PG 8 by Quince and Mulberry Studios PG 9 Headshot by David Kelly

CELEBRATING Li Cunxin AO In 2013, Li Cunxin arrived at Queensland Ballet studios in Brisbane filled with dreams, drive, and an ambition to make an extraordinary impact.

Devoted to artistic excellence, his international reputation alongside a remarkable skill set and intense passion for the artform has elevated Queensland Ballet to new heights and firmly placed the Company on the world stage.

QUEENSLAND BALLET

As his 11-year tenure as Queensland Ballet’s visionary Artistic Director draws to a close, we share some of the warm memories and messages of gratitude we have collated since his announcement. The entire compilation will be broadcast at our upcoming performances: Love and Legacy: A Celebration of Li Cunxin AO 12-13 DECEMBER 2023 PLAYHOUSE, QPAC Reflections as Artistic Director, In conversation with Li Cunxin AO 12-13 DECEMBER 2023 PLAYHOUSE, QPAC

Dear Li and Mary, Your commitment to Queensland Ballet has enabled more Queenslanders to experience ballet as an inspiring art form, and has encouraged a generation of young people to strive for excellence in a caring and friendly environment.

LI’S LEGACY • A world-class ensemble of 48 dancers.

Thanks to you both for your vision, your constant enthusiasm and your hard work.

• A world-class young artists program of 12 dancers – the Jette Parker Young Artists Program.

• A world-stage repertoire.

70 Company seasons, 880+ performances and 565,000+ tickets sold.

Ian and Caroline

• A world-class Academy in its standalone, dedicated home at Kelvin Grove State College.

• A world-class Thomas Dixon Centre, home to Queensland Ballet, second home to our Academy and a cultural hub and destination for people of all ages and abilities.

• The foundations for a world-class Production facility, the Roy and Nola Thompson Production Centre at Yatala, Gold Coast.

• A growing Health and Community program, delivering real impact across the State.

• A stable culture of giving through corporate partnerships and visionary donors.

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Dear Li and Mary, Your uncompromising pursuit of excellence has seen Queensland Ballet reach a standard that is world class.

Your leadership has been truly transformational and will leave a lasting impact not only on the local arts scene, but the entire Queensland community.

With gratitude and appreciation, we wish you every happiness for the future.

Love, Allan and Mary Anne

Dear Li, You have been an inspiration to all that have worked with you and know you! In your 11 years at Queensland Ballet as our peerless Artistic Director you have built a culture of excellence unmatched in Australia. Under your leadership, Queensland Ballet can now legitimately say that it moves in the circles of the world’s great ballet companies.

As you retire from the world of dance you leave a remarkable legacy that has touched many. You have always said you wanted to give back to ballet, an art form that has given you so much, and you undoubtedly have.

With love and gratitude, Amanda, Alex and Claudia

Dear Li and Mary, When I read Mao’s Last Dancer all those years ago, I never imaged that one day we would have the good fortune and privilege to call Li Cunxin and his wife Mary very dear friends.

Their talent and phenomenal achievements in the world of dance are well documented. What they have done for Queensland and, in particular, Queensland Ballet, is nothing short of amazing. Li turned his extremely bold dream into a reality, securing a brilliant future for ballet in Queensland.

But what is really special about Li and Mary is their openness, humility, kindness, and their care and concern for other people.

With Li and Mary what you see is what you get, and they are undoubtedly two of the nicest people you could ever wish to meet.

Our gratitude, love and very best wishes go to them as they enter the next chapter in their amazing lives.

Much love, David and Loraine McLaren

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ISSUE #12 DECEMBER 2023 - MAY 2024

You have achieved this by harnessing the energy and talent of the entire QB team.

You have done this through personal vision, unwavering drive and hard work.

Unquestionably, in achieving this success, you have been supported by Mary, a remarkable talent in her own right. Your vision to build one of the world’s great ballet companies has contributed significantly to enriching the artistic landscape in Queensland.

Li Cunxin’s impact on the creative landscape of Australia will be felt for years to come. His decade at the helm of Queensland Ballet exemplifies the world class arts and culture that has transformed our region into one of the most exciting places globally today. Li has always had one eye on tradition and the other very much on the future. Though personal reasons have compelled him to prioritize his health at this time, I know he’ll continue to keep a keen eye on helping the next generation of ballet in Australia to flourish with the same global vivacity that has been the hallmark of his tenure. In our four years of living and making our own work in Queensland, it has been a privilege to count Li and Mary as creative compatriots and friends.

- Australian Film Director Baz Luhrmann and his wife Catherine Martin

It has been an honour getting to know you both and to experience your true passion and enthusiasm for Queensland Ballet and the Arts. Calleija have had the privilege to work closely with you on a number of occasions, as well as attending many breathtaking Queensland Ballet performances; it is easy to see your desire for perfection and beauty portrayed in every story told by each one of your incredible dancers.

QUEENSLAND BALLET

While we know you will be greatly missed, we are sure your legacy will continue with the wonderful team you have created. With warmest wishes for the future.

- Kind regards, John, Noni, Jade-Monet and all of the Calleija team

Words cannot express the absolute pleasure I have been blessed to experience your mesmerising and magical ballets Li and Mary. Thank you and best wishes to you both.

- Liz McTaggart

Over the last decade and more, Li Cunxin has transformed the Queensland Ballet into a world-class company with a vibrant repertoire and brilliant ensemble of dancers. With his passion, artistic integrity, and fearless energy, he has been a powerfully positive advocate for ballet in Australia and a dynamic force for dance worldwide. I have long admired Li - first as a dancer, of course, and then as an artistic director who has led his company with zeal, commitment, and compassion to such great heights. It is a bittersweet moment that he has decided to step down for personal reasons, but his legacy is there for everyone to see with every performance the Queensland Ballet continues to give.

- Director of The Royal Ballet Kevin O’Hare

First a heartfelt thankyou for bringing the Queensland Ballet to such an elite standard with so many wonderful new works. It has been a great joy to have you perform in Cairns and we wish Brisbane was not so far away. As an ex-dancer I participated in your wonderful initiative of Seniors classes.

One never loses the love of dance — even if the body has other ideas. I wish you and Mary the very best of outcomes on your health journey. Another challenge you will be sure to overcome with the love, gratitude and warm wishes from all the balletomanes out there.

- Judith Pedersen

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What a truly transformational impact you and Mary have had not only at Queensland Ballet but on the broader arts community in Queensland, we are so lucky you fell in love with a Queensland girl all those years ago and your paths led you here!

Wishing you both all the very best as you both enjoy more time with your lovely family.

“It has been 13 wonderful to watch the development of the Queensland Ballet under the direction of Li Cunxin and his wife Mary. Queensland Ballet has presented two full length ballets by Kenneth and several 1 Acts, and each time the performances have been of a superb standard.

Not just the dancers and the quality of their dancing, and their passionate approach to their work; but everyone associated with the company seems inspired by the leadership. If only all ballet companies were the same.

- From Lady Deborah MacMillan of the MacMillan Estate

- Cathie Reid

ISSUE #12 DECEMBER 2023 - MAY 2024

HONOUR LI Many of you have asked us if you could leave a donation to honour Li. Amongst Li’s numerous contributions to Queensland Ballet, he is incredibly proud of our Company’s commitment to nurturing our young artists of the future. Unsurprisingly therefore, Li has requested that your donations are directed towards our Jette Parker Young Artist Program and Queensland Ballet Academy. Thank you for honouring Li in this way.

Photos PG 10: 2017 Li Cunxin in The Nutcracker, photo by David Kelly PG 11: 2016 Li taking Company class 2020 Li at a Queensland Ballet Academy event, photo by David Kelly 2021 Li and Principal Artist Neneka Yoshida, 60th Anniversary Gala rehearsal, photo by David Kelly

can QR code to donate or visit S celebratingli.com.au foundation@queenslandballet.com.au (07) 3013 6666

PG 12: 2022 Li and Principal Artist Neneka Yoshida, Kenneth MacMillan’s Manon, photo by David Kelly 2022 Li and dancers, Kenneth MacMillan’s Elite Syncopations 2022 Li in Kenneth MacMillan’s Manon, photo by David Kelly PG 13: 2017 Li as Drosselmyer in The Nutcracker with now Principal Artist, Mia Heathcote, photo by David Kelly

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QUEENSLAND BALLET

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Every step a story.

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ISSUE #12 DECEMBER 2023 - MAY 2024

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THE RISING STARS OF DANCE

Introducing Queensland Ballet Academy’s 2024 Season

QUEENSLAND BALLET

Fancy an evening soirée or a night of Tchaikovsky? Witness the rising stars of the dance world in a season of stunning classical, neo-classical and dynamic contemporary demonstrations and performances.

The Queensland Ballet Academy’s 2024 Season, performed at Queensland Ballet’s home – the Thomas Dixon Centre and at the Academy’s state-of-the-art facility at Kelvin Grove, goes on sale on 11 December, 2023 – for more details, visit academy.queenslandballet.com.au

TCHAIKOVSKY SUITE

ASPIRE ‘24

16 MARCH 2024 TALBOT THEATRE THOMAS DIXON CENTRE A collaboration between Queensland Ballet Academy and Queensland Youth Orchestras.

24 – 25 MAY 2024 TALBOT THEATRE THOMAS DIXON CENTRE

Join us for a celebration of the exquisite artforms of ballet and music in this beloved collaboration between Queensland Ballet Academy and Queensland Youth Orchestras.

Pre-Professional Program dancers take to the stage for their annual showcase.

Witness the technique and artistry of Queensland Ballet Academy’s graduating cohort in their showcase event, Aspire ‘24.

Tchaikovsky Suite presents a program of pieces created around the genius of Tchaikovsky’s music, choreographed by Queensland Ballet Academy Ballet Master and Resident Choreographer, Paul Boyd.

Our Pre-Professional Program dancers will perform a selection of the ballet, originally created for our Academy’s 2023 Gala season, alongside the talented musicians of Queensland Youth Orchestras.

On the brink of their careers, these emerging young dancers will perform a program of challenging and diverse choreographic works at the Talbot Theatre, Thomas Dixon Centre, including a selection of student-choreographed pieces. A showcase of their drive and creativity, this special season is a celebration of the flair and aptitude of the PreProfessional Program dancers as they prepare to enter the profession of dance.

Don’t miss this special production of stunning ballet and live music.

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UPPER SCHOOL OPEN ASSESSMENTS

LOWER SCHOOL MID-YEAR DEMONSTRATIONS

8 – 9 JUNE 2024 TALBOT THEATRE THOMAS DIXON CENTRE

Lower School students present classwork and repertoire excerpts at our studio theatre.

For the very first time, our Upper School students present their mid-year assessments on stage and open to the public.

Designed to share elements of the professional training offered at Queensland Ballet Academy, our Lower School students (Levels 6-4) will present classwork and repertoire across three demonstration sessions. This showcase event includes demonstrations of class work in ballet, contemporary, classical, character, and historical dance, along with excerpts of dynamic repertoire learned in their current year of training. We hope you will join us and enjoy the work of our dedicated dancers at our state-of-the-art home at Kelvin Grove.

Join our Upper School (Levels 3-1) students as they present their mid-year assessments onstage in front of an audience. The dancers will present assessment material in classical ballet, contemporary dance, character dance, and partnering work (pas de deux and contemporary partnering techniques), which are key component of the training and development on their path to becoming professional artists. *Tickets for this event will go on sale in 2024.

14 – 15 JUNE 2024 QUEENSLAND BALLET ACADEMY STUDIO THEATRE

*Tickets for this event will go on sale in 2024.

END OF YEAR DEMONSTRATION 29 – 30 NOVEMBER 2024 TALBOT THEATRE THOMAS DIXON CENTRE

QUEENSLAND BALLET ACADEMY GALA

Showcasing a year of dancer development through professional training and live performance, the End of Year Demonstration places our Level 1 and Pre-Professional Program graduates in the spotlight before they launch into the next phase towards their professional careers.

Presenting students from Level 6 to our graduation cohort, the program features class work and repertoire excerpts, culminating in the stunning Academy Défilé.

This Demonstration is designed to celebrate our young dancers, and to share elements of the professional training offered at Queensland Ballet Academy.

9 – 11 AUGUST 2024 TALBOT THEATRE THOMAS DIXON CENTRE A showcase of the rising stars of dance.

A highlight of the Season, the Queensland Ballet Academy Gala is an exciting annual showcase of the rising young stars of dance. Enjoy a dazzling program of classical ballet and dynamic neo-classical and contemporary works by internationally renowned choreographers, along with a selection of vibrant student choreographic works.

Demonstrating technical finesse and exquisite artistry, the annual Gala features Upper School, Lower School and Pre-Professional Program dancers from the esteemed Queensland Ballet Academy in an energetic program curated to awe and entertain audiences. Passionately mastering performance, the program culminates in an Academy Défilé presenting the entire cohort together on stage in a stunning display of talent.

Performed by professionally-trained young dancers at the dawn of their bright careers, the Queensland Ballet Academy Gala is presented at the heritage Thomas Dixon Centre – home of Queensland Ballet.

SOIRÉE 5 – 7 DECEMBER 2024 TALBOT THEATRE THOMAS DIXON CENTRE A fusion of visual art, dance, and live music featuring our Level 1 Classical and Contemporary Course and Pre-Professional Program dancers.

Enjoy an evening of visual art, dance, and live music as Queensland Ballet Academy presents its sophisticated annual Soirée, supported by Philip Bacon Galleries.

Showcasing the artistic and technical skills of the rising stars of the dance world, this creative fusion between Australian artists, Australian choreographers, and talented Academy dancers is a special highlight on the Brisbane arts calendar. Soirée presents a unique opportunity to witness a night of creative collaboration, featuring new choreographic works inspired by art pieces and performed to live music by Camerata – Queensland’s Chamber Orchestra.

Audiences will experience a program of vibrant contemporary and classical dance in Queensland Ballet’s home – the Thomas Dixon Centre, in what has become a signature event for any arts lover.

Previous Soirée seasons have featured art by Michael Zavros and Tim Storrier AM, with choreography by Natalie Weir and Paul Boyd. This visual arts spectacular is not to be missed.

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ISSUE #12 DECEMBER 2023 - MAY 2024

Upper and Lower School students present classwork and repertoire excerpts.

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QUEENSLAND BALLET

ISSUE #12 DECEMBER 2023 - MAY 2024

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queenslandballet.com.au